peculiar in those qualities which discriminate him from other poets, but his writings also possess singularities, different from, and opposite to, the usual character of poetry itself.
I cannot proceed with you to the work itself, till I have reminded you of some distinctive differences between the two writers whose claims we are to adjust, the recollection of which will be indispensable to us in considering the details of the drama. Differences between Shakspere and Fletcher to be discusst. We shall then enter on that detailed examination, keeping those distinctions in mind, and attempting to apply them to individual passages; and, when all the scenes of the play have thus passed successively before us, we shall be able to look back on it as a whole, and investigate its general qualities.
Shakspere's and Fletcher's versification contrasted.
The first difference which may be pointed out between Shakspeare and Fletcher, is that of their versification. You have learned from a study of the poets themselves, in what that difference consists. Shakspere's.Shakspeare's versification is broken and full of pauses, he is sparing of double terminations to his verses, and has a marked fondness for ending speeches or scenes with hemi-stitches. Fletcher's.Fletcher's rhythm is of a newer and smoother cast, often keeping the lines distinct and without breaks through whole speeches, abounding in double endings, and very seldom leaving a line incomplete at the end of a sentence or scene.[11:1] And the opposite taste of the two poets in their choice and arrangement [11:2]of words, gives an opposite character to the whole modulation of their verses. Modulation of Fletcher's verse: of Shakspere's.Fletcher's is sweet and flowing, and peculiarly fitted either for declamation or the softness of sorrow: Shakspeare's ear is tuned to the stateliest solemnity of thought, or the abruptness and vehemence of passion. The present drama exhibits in whole scenes the qualities of Shakspeare's versification; and there are other scenes which are marked by those of Fletcher's; the difference is one reason for separating the authorship.
Shakspere's images and words in The Two Noble Kinsmen.
You will notice in this play many instances of Shakspeare's favourite images, and of his very words. Is this a proof of the play having been his work, or does it only indicate imitation? In
Shakspeare's case, such resemblance, taken by itself, can operate neither way. Shakspere a mannerist in style, andShakspeare is a mannerist in style. He knew this himself, and what he says of his minor poems, is equally true of his dramatic language; he "keeps invention in a noted weed[12:1];" and almost every word or combination of words is so marked in its character that its author is known at a glance. wanting in variety. Shakspere repeats himself.But not only is his style so peculiar in its general qualities, as scarcely to admit of being mistaken; not only is it deficient in variety of structure, but it is in a particular degree characterised by a frequent recurrence of the same images, often clothed in identically the same words. You are quite aware of this, and those who are not, may be convinced of it by opening any page of the annotated editions. So far, then, this play is only like Shakspeare's acknowledged works. It is true, that one who wished to write a play in Shakspeare's manner, would probably have repeated his images and words as they are repeated here; but Shakspeare would certainly have imitated himself quite as often. The likeness to Shakspere in The Two Noble Kinsmen, and the repetitions of him, are likely to be by him. The resemblance could be founded on, as indicating imitation, only in conjunction with other circumstances of dissimilarity or inferiority to his genuine writings; and where, as in the present case, there seems to be reason for asserting that the accompanying circumstances point the work out as an original composition of his, this very likeness and repetition become a strong argument in support of those concomitant indications. [12:2]Such repetition is more or less common in all the play-writers of that age. The number of their works, the quickness with which they were written, and the carelessness which circumstances induced as to their elaboration or final correction, all aided in giving rise to this. Massinger also repeats himself much. Fletcher but little. But all are not equally chargeable with it; Beaumont and Fletcher less than most, Massinger to an extent far beyond Shakspeare, and vying with the common-places of Euripides. May not the professional habits of Shakspeare and Massinger as actors, have had some effect in producing this, by imprinting their own works in their memories with unusual strength? Fletcher and his associate were free from that risk.
Singularity of Shakspere's style.
It would not be easy to give a systematic account of those